The propensity towards internalisation has remained a constant in Ad Groot’s life and work. His works are by no means an attempt at trying to convert us to any form of spiritual bliss. Although, in all their humility, they do master the language of seduction, much like all art does or at least attempts to do. One of the rules of this language is visualisation by omission. The other is regarding beauty as an unintentional consequence, not as an aim in and of itself. Yet another rule claims that it cannot be known in advance when a work is completed. The latter becoming apparent only upon viewing the work.
Art Ad Groot in Piet Boon showroom
1 February 2018
Ad Groot’s (’53) paintings are like a vista into an intimate world, inhabited by traces of small plant- and animal like creatures. Already from a young age, during which he learned the trade of house painter, Ad developed a sense for the spiritual significance of nature. He experienced a similar significance in music, specifically Indian classical music. All these aspects contribute to, and perhaps explain, the unique character of Groot’s work. Practically all of his paintings are created with a concentrated, devoted attention. The kind of attention that is characteristic of the classical artisan and musician. It is this form of concentration that brings about the necessary escape from the rush and noise of the outside world. This in itself requires ample time and silence.